Gabrielle Ray – Flying Colours – The Preston Herald – Saturday 28th October 1916

LONDON ENTERTAINMENTS.

 THE HIPPODROME.

“Flying Colours,” a new Hippodrome revue, is drawing big houses at the London Hippodrome. Among the artistes in this excellent revue are “Little Tich,” Dorothy Ward, Ray Cox, Gabrielle Ray, etc. It is produced by Albert Courville and staged Wm. J. Wilson. The Hippodrome is one of the cosiest theatres in the country, and when in London you should not forget to pay it a visit.

 

The Preston Herald – Saturday 28^th October 1916

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Gabrielle Ray – Betty – London Evening Standard – Saturday 30th October 1915

MISS GABRIELLE RAY.

 REAPPEARANCE IN “BETTY” AT

DALY’S THEATRE.

 

That very charming musical comedy “Betty,” at Daly’s Theatre, was farther enlivened and brightened last night by the presence of Miss Gabrielle Ray, this being her return to the stage after an absence of several years. How much musical comedy has lost in that interval was shown by the reception given to her, and by her bright and happy work in the part of Estelle.

Another notable newcomer to the cast is Mr. Lauri de Frece, who takes up Mr. Berry’s mantel in the part of Jotte, maker of modes. Mr. de Frece’s methods are quite different, but he is none the lees an excellent comedian, and a decided success. Both the newcomers bring some very good songs with them, and Miss Winifred Barnes is also provided with a new number, “Goodbye.” With all the new things put into it “Betty” seems likely to continue its success indefinitely.

 

The London Evening Standard – Saturday 30^th October 1915

Gabrielle Ray (J. Beagles 665 E)

Gabrielle Ray – Glasgow Observer and Catholic Herald – Saturday 1st October 1921

Jupe Culotte – The Illustrated London News – Saturday 4th March 1911

INELEGANCE: THE JUPE – COLOTTE OUT OF FAVOUR

 AN UNREHEARSED EVENT: “LES COURSES D’AUTEUIL.”

The jupe – culotte does not invariably meet with favour, and, moreover, the curiosity of the crowd is apt to take active form. Hence, certain of its wearers have not found it conducive to mental comfort, however satisfactory they may find the freedom it gives to the limbs. In Madrid the skirt has proved so unpopular that, at the request of Senor Canalejas, the Governor has detailed fifty policemen to protect ladies wearing it in the streets. Our drawing is reproduced by courtesy of “L’Illustration,” of Paris, which publishes it under the title “Les Courses d’Auteuil.”

 

The Illustrated London News – Saturday 4th March 1911

Gabrielle Ray – The Tatler – Wednesday 6th October 1915

THE RETURN OF ANOTHER POPULAR FAVOURITE

With Gabrielle Ray to Daly’s and Lily Elsie to His Majesty’s

 

The Tatler – Wednesday 6th October 1915

Jupe-culotte – The Illustrated London News – Saturday 25th February 1911

THE MOST DISCUSSED DRESS IN THE WORLD: THE JUPE – CULOTTE, FAMILIARLY KNOWN AS THE HAREM – SKIRT OR THE TROUSER – SKIRT

None will deny that the jupe-culotte, as the harem-skirt is called officially, is the most discussed dress in the world. It has made its appearance in, at all events, one theatre in Paris, and on Auteuil racecourse, also in Madrid, and for a brief moment or two last week in London, where it was worn in Regent Street. Amongst the famous French dressmakers who were asked for their opinion by the “Gaulois,” which is quoted by the “Telegraph,” M. Poiret alone champions the new skirt to any extent. He believes that it will remain “the appanage of the really chic woman who has pretty ankles, and who can afford to have her shoes made by high-class bootmakers, and to wear ankle-bangles incrusted with precious stones.” Doucet’s decide that it is impossible for town wear, but, nevertheless, makes divided skirts. Doeuillet’s make it, but prefer the Greek robe with a pure aesthetic outline. Mme. Paquin cays it is not a fashion, but a fad. Laferrieres’ do not care for it; Martial and Armand describe it a fancy dress, possibly suitable for “le footing,” or “le skating,” and “le sport” in general. Mr. Redfern, agreeing that anything is permissible to women, nevertheless would have the harem-skirt worn indoors only. Worth’s consider it the logical outcome of the hobble skirt, “as if one had slit up skirt because it prevented one from walking upstairs”: otherwise they dub it folly. Moreover, they argue; “it will soon spread to Montmartre, and then it will be done for1”

 

The Illustrated London News – Saturday 25^th February 1911

Gabrielle Ray – The Dollar Princess – The Nottingham Guardian – Monday 26th September 1910

“DOLLAR PRINCESS” ANNIVERSARY

 

There was a rush for seats at Daly’s Theatre on Saturday night for the first anniversary for the “Dollar Princess” After her success with the “Merry Widow” it seemed difficult for Miss Lily Elsie to score another triumph, but she has done so, and the celebration was marked by a souvenir of signed portraits of all the chief artists presented to everyone in the house. Miss Gabrielle Ray, Miss Elizabeth Firth, Mr Joseph Coyne, Mr. Michelis, and Mr. Berry, all had an enthusiastic welcome. There were some fresh topical numbers for Mr. Berry, including a hit at Mr. Lloyd-George, and the dances and songs are now recognised favourites, but have kept their freshness all the same. Not the least reason for this is the brilliant way in which this musical is produced.

 

The Nottingham Guardian – Monday 26^th September 1910

Peggy – The Sketch – Wednesday 15th March 1911

“WOMANLY” HAREM SKIRTS AT THE GAIETY: THE JUPE-CULOTTE IN “PEGGY.”

 

The particular form of jupe-culotte worn in the new Gaiety play is described as “womanly.” and has met with considerable appreciation. The photograph shows (from left to right) Miss Billy Eade, Miss May Kennedy, and Miss Marie Deane.  – [Photograph by Central News.]

 

The Sketch – Wednesday 15^th March 1911

Gabrielle Ray – Peggy – The Tatler – Wednesday 15th March 1911

The Highway of Fashiom: By Marjorie Hamilton.

The Jupe Culotte.

WERE further testimony required that feminine caprice loves novelty it would be found in the welcome that has been accorded to the jupe culotte or pasha trousers. It must, however, be recollected that although all the world is talking about them few women have had the temerity to wear them in the public thoroughfares. Personally 1 do not believe that they will be popular albeit the majority of the modistes are showing them; as a matter of fact it is really to satisfy the curiosity of their clients as everyone is desirous of obtaining a view of them. Madame Paquin has set her face against them from the outset, contending that they are far from graceful. Naturally the divided skirt of the sportswoman is quite a different affair. Further more, as the back view is far from becoming, in the modified forms a floating panel or very broad ribbon sash is introduced which springs from above the waist-line where evening and reception dresses are concerned.

Across the Footlights.

Many, however, will contend that the foregoing remarks are rank heresy should they have seen the idealised jupes culottes worn by the chorus in Peggy the new play at the Gaiety, in which the culottes are of satin and the over dresses of embroidered silk voile. The colour schemes are quite beyond description; there are to be found the whole gamut of purple, rose, khaki, green, and blue shades, but then it must not be forgotten that these lovely affairs are seen amidst appropriate surroundings. In striking contrast to these extreme creations is the simplicity of the dresses worn by the principals. Miss Gabrielle Ray as Polly Polino is seen in an extremely simple high- waisted shell-pink charmeuse dress, while Miss Enid Leslie as Diamond, the barmaid, wears a pale blue satin dress and a little lace apron finished with a broad sash at the back. Her cap of lace and ribbon is the newest phase of the Quaker bonnet, and should be noted by matinee devotees as they could wear one of a similar character without fear of obstructing the view of those behind them.

The New Colour.

There is a wonderful charm about the new colour, chaloupe red; its elusive shades are seen to the greatest advantage in the dress worn by Miss Phyllis Dare, which is decorated with a double row of buttons from just above the bust-line to the hem of the skirt; at the base of the column of the throat a lace turn-over collar edged with embroidered ninon is introduced, below which is a draped delft-blue bow. The cynosure of all eyes is Miss Olive May’s (Doris Bartle) it will be recalled that she is the daughter of the American multi millionaire hat of white tagal straw built on the lines of a modern fireman’s helmet embellished with two ostrich couteau plumes, one white and the other black, while her dress is of white silk with a pretty draped corsage.

Fascinating Bathing Dresses.

In the second act Miss Phyllis Dare, Miss Gabrielle Rae, and Miss Olive May assume fascinating bathing dresses of pink and white silk well-nigh concealed by bathing wraps; it is indeed a pretty sight to see them reclining in their chaises longues. A few words must be said en passant regarding a lovely gown worn by Miss Phyllis Dare; the fourreau is of the palest blue silk veiled with shell-pink chiffon, the hem bordered with diminutive roses, which is just discernible beneath the rather flat pannier drapery of silver and white striped gauze. Over her shoulders is arranged an attractive white chiffon wraplet edged with a handsome fringe; the last but certainly not the least attractive detail of this toilette is the quaint little head dress of lace and silk reminiscent of the revolutionary bonnet.

Fashionable Millinery.

In spite of the many excursions into the realm of novelty which have recently been essayed by the advanced milliners, it must be confessed that the large hat still pursues the even tenor of its way; naturally it has rivals, but they cannot be regarded as very formidable. Pictured on this page is a quartet of fascinating head-gear epitomising La Mode’s latest commands. As will be observed, the pretty little motor bonnet is reminiscent of those worn during the Revolution, while the modified Napoleon is worn at quite a different angle than was formerly deemed correct. A very pretty model which recently made its debut was built on the lines of a modern fireman’s helmet, the crown encircled with a wreath of tiny ribbon flowers.

The Spell of the Magyar Broken.

At last the spell of the Magyar sleeve is broken, and in the new models the sleeves are put in separately from the corsage, but little fulness is permissible over the shoulders, and there are signs on the horizon that ere many weeks are over the bell sleeve will lead the van. Quite a novel idea is the insertion of a panel beneath the arms of the same material as the trimming of the dress. For instance, a dress of blue serge with a half- tunic of striped blue-and- white foulard with revers  of the same on the corsage would have a vandyked panel beneath the arms of foulard, the stripes arranged vertically, the reverse of the tunic. The half- tunic is quite a novel idea and very effective; it springs from the folded sash in front and terminates some 6 in. above the hem, and need not be of a transparent material. It commences about 4 in. from the right hip, is brought over the left hip, and finally loses itself at the back beneath the left fold of the box pleat.

Consistency in the Choice of Jewellery.

There are many women to whom the appropriate comes naturally, and they would never dream of wearing jewellery which would strike a discordant note in the toilette. For instance, they would not don heavy ornaments with the present “blown-together” dresses, but would select designs in which delicate traceries with small drops predominate; they know that it would be false art to do otherwise. With the jewellery in the salons of the Parisian Diamond Company, 143, Regent Street, W., the ideal has been achieved, and the modern vraie elegante will find a veritable embarras de choix in chef d’oeuvres of the jeweller’s art which will directly appeal to her susceptibilities.

 

The Tatler – Wednesday 15^th March 1911